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Quoting Caravaggio: Contemporary Art, Preposterous History
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Condition:
“A very nice copy. Text in clean/unmarked condition. Cover has minor wear with bumped/curling ”... Read moreabout condition
Very Good
A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear.
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US $6.97 (approx RM 29.82) USPS Media MailTM.
Located in: Mayer, Arizona, United States
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eBay item number:296235123307
Item specifics
- Condition
- Very Good
- Seller Notes
- ISBN
- 9780226035574
About this product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226035573
ISBN-13
9780226035574
eBay Product ID (ePID)
1837994
Product Key Features
Number of Pages
328 Pages
Language
English
Publication Name
Quoting Caravaggio : Contemporary Art, Preposterous History
Publication Year
2001
Subject
Criticism & Theory, History / General
Type
Textbook
Subject Area
Art
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
42.4 Oz
Item Length
9.5 in
Item Width
8.8 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
21
Illustrated
Yes
Dewey Decimal
701.1
Table Of Content
Contents List of Illustrations Acknowledgments Introduction Preposterous History "Quoting ..." Re-Visioning the Baroque "... Caravaggio" (and Those Who Quote Him) Meta-Baroque Theoretical Objects and the Life of Ideas 1. Skin-Deep: A Baroque Point of View A History by Default/The Fold The Body Inside Out: Baroque Point of View Folds That Matter 2. White History White and the Mirror Death and the Body Nostalgia Isn't What It Used to Be 3. Reading Caravaggio: Basic Instincts and Their Discontents Misfiring Inside the Readable Interpellation and Identity 4. Sighting Time Time's Spurts of Blood Tombstones, Gossip, and Stories of Origin Visual Poetics A Poetics of Vision Playing the Game Art Writing 5. Space, Inc. The Matter with Semiosis Killing Mirrors The Index and Psychic Space Deixis: A Special Pleading for the Orientation of the Index Light and the Black Body 6. Second-Person Narrative Sticky Images Time Out Nonfigurative Narrative First Person, Second Person, Same Person Time, in Two Episodes Engaging Caravaggio Light-Writing The Sense of Not-Ending Is That Narrative? 7. Mirrors of Nature A Mirror with a Twist Mirroring Constructivism A Mirror with a Stain A Mirror That Cuts A Mirror with a Crack Presences Naturally Yours 8. Narcissus Now Beyond Mapping The Landscape in the Corner of Your Eye Narcissus's Vision The Mirror Cracked Framing Vision Afterword References Indexes ?
Synopsis
As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In Quoting Caravaggio, Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal's primary object of investigation in Quoting Caravaggio is not the great seventeenth-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-twentieth-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of Quoting Caravaggio shows particular ways in which quotation is vital to the new art but also to the source from which it is derived. Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. Quoting Caravaggio is a rigorous, rewarding work: it is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, not least, a brilliant critical exposition of contemporary artistic representation and practice. "[A] profoundly enlivening exercise in art criticism, in which the lens of theory magnifies rather than diminishes its object. . . . [A] remarkable book. . . . The power of Quoting Caravaggio resides in the intelligence and authority of the writer."--Roger Malbert, Times Literary Supplement, As period, as style, as sensibility, the Baroque remains elusive, its definition subject to dispute. Perhaps this is so in part because baroque vision resists separation of mind and body, form and matter, line and color, image and discourse. In "Quoting Caravaggio, " Mieke Bal deploys this insight of entanglement as a form of art analysis, exploring its consequences for both contemporary and historical art, as well as for current conceptions of history. Mieke Bal s primary object of investigation in "Quoting Caravaggio" is not the great seventeenth-century painter, but rather the issue of temporality in art. In order to retheorize linear notions of influence in cultural production, Bal analyzes the productive relationship between Caravaggio and a number of late-twentieth-century artists who "quote" the baroque master in their own works. These artists include Andres Serrano, Carrie Mae Weems, Ken Aptekar, David Reed, and Ana Mendieta, among others. Each chapter of "Quoting Caravaggio" shows particular ways in which quotation is vital to the new art but also to the source from which it is derived. Through such dialogue between present and past, Bal argues for a notion of "preposterous history" where works that appear chronologically first operate as an aftereffect caused by the images of subsequent artists. "Quoting Caravaggio" is a rigorous, rewarding work: it is at once a meditation on history as creative, nonlinear process; a study of the work of Caravaggio and the Baroque; and, not least, a brilliant critical exposition of contemporary artistic representation and practice. " A] profoundly enlivening exercise in art criticism, in which the lens of theory magnifies rather than diminishes its object. . . . A] remarkable book. . . . The power of Quoting Caravaggio resides in the intelligence and authority of the writer." Roger Malbert, "Times Literary Supplement""
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